Photoplay (Jan - Jun 1924)

SAVES YOUR PICTURE TIME AND MONEY The Six Best Pictures of the Month m SECRETS THE MARRIAGE CIRCLE THE HUMMING BIRD THY NAME IS WOMAN THREE WEEKS THE STRANGER The Six Best Performances of the Month Gloria Swanson in "The Humming Bird" Norma Talmadge in "Secrets" Tully Marshall in "The Stranger" George Fawcett in "Pied Piper Malone" Marie Prevost in "The Marriage Cirele" John Sainpolis in "Three Weeks'" Casts of all pictures reviewed will be found on page 127 THE MARRIAGE CIRCLE— Warner Brothers IT is becoming more generally recognized by producers that a story can be told on the screen with pictures, plus intelligence, and does not have to have a title every thirty or forty feet. Also it can be told clearly, concisely and straightforwardly, without "flashbacks" or other nuisances. Mr. Chaplin did it with "A Woman of Paris," and Ernst Lubitsch has done it again with "The Marriage Circle." What stands out in this picture is its simplicity. Here is a story with a number of human characters in it. The picture starts, the characters themselves reveal the story, which runs smoothly along to its logical ending. There is no straining for effects, no effort to be spectacular. It's all very simple, very human, and immensely entertaining. The story deals with the complications which beset a young wife who tries to steal the husband of her best friend. The plot is extremely thin and has no distinction whatever. It has certain farcical angles which are most amusing, but it is the treatment which makes the picture. Mr. Lubitsch has been notably economical even in his use of incident. The scenes are laid in Vienna, but there is no attempt at scenic effects. It is just everyday life and surroundings. The cast is uniformly good. There are two wives, admirably played by Marie Prevost and Florence Vidor, and two husbands, played by Monte Blue and that delightfully sophisticated actor, Adolphe Menjou. Creighton Hale also contributes an excellent performance. It would be hard to award first place to any one of these five. The women probably will give it to Miss Prevost, but there is something positively enchanting in the work of Mr. Menjou. He's such a "wise egg" THREE WEEKS— Goldwyn Tl I E celluloid edition of a book that shocked us, a generation ago, makes an entertaining picture. True, in this frank age, the story has lost much of its daring. But it is well told, and well directed and interesting. Some of the settings are exquisite, and the lighting effects are good. And the whole cast is excellent. It is Aileen Pringle, as the unhappy Queen, however, who stands out cameo-like from the rest of the picture. She sets a new style in enchantresses— she never loses the wistful charm that will win the sympathy of any audience. The story of a queen who, bitterly disappointed in her marriage, allows herself one fling at romance and joy. Not quite a month — but every day crowded! And then, again, a life of repression that ends in the greatest sacrifice. Not for the children, of course! THE STRANGER— Paramount A GIRL of the London slums and a dissolute younger son are thrown together by fate. They fall in love and plan to go straight — with marriage as a starting point. And then they become involved in a murder which complicates the whole scheme of things. Because it is easy to let the blame rest upon another, they forget their newly found ideals almost. But, in the end, they prove that they are made of the right stuff and manage a happy ending. Betty Compson is lovely as the girl — and Richard Dix, as the boy, is lovable. But Tully Marshall, as the man accused of the crime — a broken old chap whose heart is filled with love, though his mind is half dazed — walks away with the picture. The first part of this picture drags. But it comes to a strong finish. 61